IMHO, you have the best amp. I have the PS-100 so I may be a bit biased... 
I have the Kemper Stage. I ran it into the line in on the Fryette from the output of my Kemper. You will want to use a patch cable or instrument cable (1/4") so you have the extra shielding in it to help keep noise out of your signal. You will want to make sure you have the cabinet turned off in the profile since you are sending the signal into a real cabinet.
The Kemper sounds massive running it this way.
My old home Focal Monitors (1 of them) died today after almost 17 years of duty and I went to buy New ones. I've tried a lot in the Shop and ended up with 2 Setups in the shortlist: Yamaha HS7+sub and HS8 alone (tried with sub as well, but that was waaaay to much). The HS8 came home with me, and the main reason was the definition of the highs (!!!). On the 7 they sounded way too compressed compared to the 8.
I must say that I use them only for practicing or some occasional jam with a friend/my wife, no serious mixing out of an 8 tracks digital recorder to save some idea. Any serious job is done in a proper studio.
I like very much what I hear so far, now I understand why you see those boxes in every single control room around the world (obviously together with some high $$$ ones)
This is interesting to me. I consulted a couple of guys that do a lot of tracking and mixing and have experience in doing this in studios when I bought my speakers. For the room size I work in they recommended the HS7 speakers and left it up to me on the sub. I ended up with a pair of the HS7 speakers with the sub. The sub has a volume knob on it so you can set the level for your room. What is interesting to me is that I don't hear any sort of compressed sound on the high end. I think the HS7 and HS8 have the same tweeter in them. The only difference is the woofer. I really like the speaker setup that I have. I dialed in the sub to my room and the volume I typically use the system at and all works well for me. I listened to some mixes on many devices to determine what I needed to do in my room and volume wise to get a good representation in my room.
I have only purchased a few professionally made profiles. The packs I have are multiple profiles of the same amp with various settings. There are studio profiles as well as direct profiles in the pack. That gives me the option to merge some of them or use a cabinet that I like or an IR with them. I think the packs I have contain around 30 profiles for each amp. Some of the ones I have were done with a light overdrive pedal in front of them.
I have profiled my own amps as well and used a light OD in front of them with good results. Some amps and pedals don't profile well. I played around with profiling some OD pedals and the results are varied. Some came out a bit too dark sounding. Some I was able to adjust some settings after the profiling process to get them to sound decent. If you have an OD pedal that is fairly transparent it can add some nice tone to the profile. If it is higher gain it will probably not come out well.
If you look at the MBritt or Tone Junkie web sites you can see how they package their profiles. They will list how many profiles there are and if they used any pedals in the profile.
I think it sounds pretty good. I listened to it on some cheap speakers plugged into my computer so I can't really offer any mixing feedback other than I tend to listen to mixes on numerous devices, including speakers like I listened to this on, and I didn't hear anything that needed fixed IMHO.
I like it! The guitars sound great. The singer's voice fits the song well. Great job!
Very nice playing. I really appreciate the phrasing.
That is very cool and looks well made. I like it!
- Instrument cable from Profiler Direct Output to Apollo front guitar input (with Direct Output set to Git Analog) in case you want to record a DI track.
- XLR female -> 1/4" TRS from Profiler Main Output L to Apollo Mic/Line 1L (with Main Output set to Master Mono) to monitor/record the Profiler in mono.
- 2 x XLR female -> 1/4" TRS from Profiler Main Output L/R to Apollo Mic/Line 1L/2R (with Main Output set to Master Stereo) to monitor/record the Profiler in stereo.
No speaker cables required to hook up to your audio interface.
This right here. ^^^
With line audio, you can get away with simpler shielding.
Instrument cables generally have better/more shielding since the signal generated by the pickups is so minute.
I would still recommend using an instrument cable. Extra shielding is a good thing. Speaker cables typically only have the PVC shielding on the outside of the wire. An instrument cable will have a metal shielding inside of the PVC shielding to help prevent any noise getting introduced into the signal. While a speaker cable may work there is more potential for noise to get into the signal.
That will almost certainly not be "flat" but probably sound great. Flat is not always better sounding, Most of us are used to hearing pleasantly colored speakers and systems. Having reference monitors that aren't perfectly flat doesn't mean you couldn't record a Grammy winning album with them. They're a reference. You have to get to know your speakers and know how they will sound comparatively with other systems, car stereos, earbuds etc. You'll reference multiple speakers. It doesn't help that you're using $10,000.00 monitors if it sounds bad through everyone's stereos. You have to create the sound you want on an album. Play a great sounding favorite album of yours through an analyzer. It won't be "flat".
It depends on how loud you turn the sub up. It is only going to produce what you give it. The speakers sound good. You can hear the lower frequencies better with the sub. I worked on a rab song for a guy I work with. This is not a genera of music I listen to. I did a lot of listening and asked for some reference tracks. I am not sure I could have done as good of a job on that song without the sub. There is a lot of low end in that type of music. I listened to it on several different systems to make sure it was matching the reference tracks. When I let him hear it was really surprised at how well it came out.
I have a pair of HS7 , these are great however do not expect 100Hz bass frequency to reflect fully the amp profile, it's very far from a 4x12 thump
Anyway they are perfect for recording & mixing, done hundreds of mixes on them, they are super reliable in terms of clarity .
I use a Kone on self made cab to get the thump & vibe while recording my guitars to complement the great stereo field
Get the sub for the HS7s. I have a pair of the HS7 speakers and bought the sub shortly after I got them. For me, that was worth every cent.
Wow, I didn't even know this was in the Kemper. Is it convincing? I know a guy that has a real talk box that he uses for a few songs. It would be cool to be able to use something like this in the Kemper if it sounds close enough to the real thing.
Great Job! Your singer has Hetfield nailed. It is nice to see and hear someone nail this song.
I used to use Ernie Ball strings. They do feel looser than other brands. That is why they named them slinkys. This can be a good thing or a bad thing. I have some sort of negative reaction chemically with EB strings. I can put a new set on before a gig and after 2 gigs, they are dead, no snap left in them and the low E string sounds flubby. I took a little bit of a break from playing in my younger years and when I started playing again I had issues with bending the EB strings out of tune. I remembered that D'Addario strings had a much stiffer feel that I didn't like back in the day. I switched over to them and have never gone back. If the strings that are unidentified are PRS strings, they are made by D'Addario.
Another thing that I have found after many years of working on guitars is that you can take two exact guitars and they will respond different to a setup. Some like to be a little higher and some like to be lower on the action. I typically set a guitar up and the measurements that I know will get me in the ballpark then I tweak a little at a time to find the place where the strings bend the easiest.
It sounds like the Kemper will fit your needs well. If you are using it solely for recording, all of the formats of it will do what you need. You will probably want to make sure you get a newer model so you could use SPDIF for recording. The newer ones have a bidirectional SPDIF connection. I wanted to be able to use my Kemper for live gigs so I went with the Kemper Stage. I chose that one because it combined the Kemper with the foot controller. That was less gear to carry around. If you are going to use this as a mobile rig and want the foot controller abilities without carrying an additional piece of gear, that may be the unit for you as well. They all run the same firmware and sound the same so pick the format that works for you use cases.
If you go the reactive load box route, look at the Fryette units. I have a PS-100 and use a Two Notes C.A.B. M+ after it for the cab simulation. I like the way it works with the amps. I chose the unit that I have so I can use it as a power amp to run my Kemper into a guitar cab if I want to. They sell a unit that is a reactive load that has the cab sims in it. I was also looking at the Two Notes torpedo units when I chose the Fryette after doing a lot of research.
One thing to mention is that I see a number of guys that have trouble getting a high gain tone out of the Kemper. On the flip side of that, I have heard some recordings of high gain tones that were produced with the Kemper and they sounded very good. I would expect that you may have to put a little time into getting the tones where you like them. It sounds like you have a very well trained ear so it may not be that big of a deal since you have experience with digital units. I thought it was something to mention because I have seen that complaint a fair amount.
I personally like the Kemper for the raw amp tones. From the units I have tried it sounds and feels like the real amp. I have profiled some of my amps at the settings I play shows with and the profiles sound just like the amps when run at the same volume. I had the amp in the room along with a FRFR speaker on a stand and ran them at the same volume and couldn't tell the difference between them when switching back and forth. I was also able to get good profiles with some of my overdrive pedals in front of the amps. I don't run them at high settings so it worked well for my needs.
I have never heard of this brand of guitar. I would find it strange that they are reaching out to you about doing a demo video, unless you have a very popular YouTube channel that is guitar focused. I watch a couple of those and have never heard them mention this brand. I tend to stick with the bigger USA brands. Those hold the best value. My guitar collection will be sold some day, whether it be by me or whoever gets them when I move on. I have actually started reversing the mods I have done on the few that I have modded to prepare them for sale. I am going to start thinning things down.
Did you open a support case? I would do that if you haven't. They may have an easy way to fix it. They are very good with these units and know things the rest of us don't.
Not sure if you tried different cables but that is the first thing that came to mind wile reading your post. I agree it would be good to know if you still have the issue. Once you have everything hooked back up and if it is working, flex the cables near the connectors and see if anything happens.
Interesting thread. I have not played with this feature much. I did what most people recommend and turned it off and never looked at it again. Maybe I need to dig into that a bit more.
I started around the age of 9 on an acoustic guitar. I was in Junior High School when I got my hands on an electric guitar through an overdriven amp. That was it. I was hooked. I remember one of the first songs I learned how to play on electric guitar was Love Stinks by J. Giles. If I took a few mintes and messed with it, I think I could still play it today.
